Describes a strategy called phone-ominal composition for teaching students in fifth through twelve grades about jazz and musical composition. Explains that the students use their phone number to create the composition. Provides examples of this technique and guidelines. (CMK)

Offers a strategy from the book "Strategies for Teaching Prekindergarten Music" to help young children meet the achievement levels called for in Music Educators National Conference (MENC) Prekindergarten Music Education Standards. Explains that in the lesson provided children will become familiar with music as a medium for changing…

Focuses on how music teachers can make choral rehearsals more interesting for students by incorporating creative lessons and activities. Explores what it means to be creative and includes examples of creative lessons that can be used in the choral rehearsal. (CMK)

Describes how to teach elementary students about vocal improvisation using the Kodaly-based approach. Discusses the three steps involved in this technique: (1) develop familiar singing patterns; (2) use a question and answer format; and (3) begin improvisation. Includes examples of solfege patterns and a vocal question and answer. (CMK)

Provides a strategy, from the book entitled "Strategies for Teaching K-4 General Music," that addresses Standard 6A of the National Standards for Music Education. Explains that students will identify characteristics that enables them to make decisions about the form of the composition in listening examples longer than classroom songs.…

Provides the song "Can't Get in Tune Blues" to help orchestra string students determine whether their instruments are in tune. Explains that the song teaches students the pitch relationships among strings and gives them valuable open-string bowing practice. Includes the music and one variation. (CMK)

States that music teachers should write their own string orchestra music to create more music choices. Discusses how to write and publish the music. Includes a list of guidelines for writing and publishing music, as well as chart of factors that teachers should consider. (CMK)

Discusses how teachers can incorporate musical composition into their classrooms by teaching students about aleatory, or chance, music. Provides a definition of aleatory music and provides various composing techniques, focusing on aleatory music. Includes lesson plans using aleatory music, such as the "Mozart Model" for grades 4-12. (CMK)

Discusses how to encourage creativity in the music classroom for upper-elementary students by focusing on musical composition. Includes a description of a nine lesson unit that focuses on creativity in musical composition. States that students can continue working on compositions at home. (CMK)

Provides a strategy, from the book entitled "Strategies for Teaching High School Band," that addresses Standard 8B of the National Standards for Music Education. Explains that students will discover relationships among music, visual art, and architecture of the Classical period. (CMK)

Addresses how the National Standards can be incorporated into band rehearsals using the music piece, "Balladair" (Frank Erickson), as an example when teaching techniques and musical concepts. Provides ideas such as using material from "Balladair" to create warm-ups or relating the piece to other arts. (CMK)

Recommends using "activation exercises," or warm-ups, to awaken students' voices, minds, and breathing mechanisms when singing choral music. Describes three activation exercises: (1) plainchant melodies; (2) the five-note scale; and (3) tongue twisters sung to melodies or scale patterns. Explains why the first and third exercises work.…

Provides a strategy, from the book "Strategies for Teaching Specialized Ensembles," that addresses Standard 9A of the National Standards for Music Education. Explains that students will identify and describe the musical and historical characteristics of the classical era in music they perform and in audio examples. (CMK)

Describes a unit used with sixth-grade students focusing on jazz and blues that taught improvisation. Discusses the different levels of improvisation that were used, providing the beginning activities, and describes activities that focus on the third level of improvisation called product-oriented improvisation. (CMK)

Describes an activity designed to develop middle school choral students' writing skills: students wrote letters to the composers or arrangers of pieces they had performed at concerts; the students could address topics such as their reaction to the piece, general questions about composing, or discussing the performance of the piece. (CMK)